Structural Communication

Abstract

The communication of structure in musical expression has been studied scientifically by analyzing variations in timing and dynamics in expert performances, and by analysis by synthesis. The underlying principles have been extracted, and models of the relationship between expression and musical structure formulated. For example, a musical phrase tends to speed up and get louder at the start, and to slow down and get quieter at the end; mathematical models of these variations can enhance the quality of synthesized performances. We overview the dependence of timing and dynamics on tempo, phrasing, harmonic and melodic tension, repetitive patterns and grooves, articulation, accents, and ensemble timing. Principles of structural communication (expression) can be taught analytically, by explaining the underlying principles and techniques with computer-generated demonstrations; or in traditional classroom or lesson settings, by live demonstration.

Teaching young musicians expressive performance: an experimental study

“…Furthermore, conveying the structure of a work convincingly is an aspect of performance expression (Clarke 1988;Friberg and Battel 2002;Juslin 2003;Palmer 1997). Authors appear to agree that performance expression is communicated through variation of auditory expressive devices (Fabian, Timmers, and Schubert 2014;Juslin 2003;Juslin and Persson 2002) such as tempo, timing, dynamics, articulation, timbre, attack, decay, intonation, vibrato, ornamentation and ancillary gestures.…”

The serological specificity of snail agglutinins (protectins)4

“…carbohydrate antigens will be expressed, having different carrier polypeptides from those of untransformed cells (the 'neo-antigens' or 'tumour-specific' antigens) and these may be detected both by specific antisera and by heterophile agglutinins. Such tumour antigens which are detected by anti-AHp have been reported in certain solid and ascitic tumours (36); on the other hand, cultured lymphoblastoid cells do not have receptors for anti-ARp (36); an interesting observation is that TA3 cells are not agglutinated by anti-AHp but a highly immuno-resistant strain, TA3-Ha develops strong receptors for anti-AHp (13). The presence or absence of receptors for 'Helix' and other agglutinins is promising, and the method developed for indicating uptake of anti-AHp by cells using radioactively labelled agglutinin or specific antibody to agglutinin (28) is a useful approach.…”

“…Immunochemical characterisation of bacteria: Taxonomy of bacteria (25) Antigenic structure and cross-reactivity of bacterial polysaccharides and lipopolysaccharides (Ouchterlony agar gel diffusion, agglutination inhibition) (29) Immunochemistry of viral surface components: Location of 'A-like' antigen in viral lipid structures, or in envelope glycoproteins (13,46) Andrology , --neuraminidase in the myxoviruses) are removed and the resultant 'shaved' viria now present lipid (including glycosphingolipid) membrane components : these contain receptors for anti-AHp (24). The envelope glycoproteins of the paramyxovirus, SVS, contained galactose, mannose, glucosamine and fucose but no N-acetylgalactosamine whereas the glycosphingolipids had N-acetyl-galactosamine (23).…”

“…Detection of red cell antigens: Human AI; sub-groups of A; A1B and AzB; Cad and Sd3 typing Differentiating between Tn and T polyagglutinability (27,31,32) Especially useful for automated blood grouping practice Animal: hog HEL and he1 inheritance ( Fig. 4a and 4b) (41,49,55) Sheep HEL' and hel' receptors (42) Forssrnan antigen Topographical investigation of cell surfaces: Red cells; organ and tissue cells; white cells and thrombocytes (27, 30, 54) Subcellular organelle membranes (mitochondria, lysosomes) 'A-like' antigen on certain tumour cells (13,36), absent from others (13,33)…”

Amplifying reflective thinking in musical performance

“…Even when musicians are playing music composed by someone else, creativity is required in the interpretation of the music notation chosen by the composer. The subtleties of musical phrasing -including tempo, articulation and dynamics -cannot be adequately represented by musical notation and thus the interpreting musician has a significant influence on the final musical result [11]. It could be said that in effect the performance is collaboration between composer and musician.…”